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NABMSA Reviews a Publication of the North American British Music Studies Association
NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination. -
Léon Goossens and the Oboe Quintets Of
Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses. -
George Frideric Handel Cc 9127 George Frideric Handel
GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
Autumn 2005 No
FRMS BULLETIN Autumn 2005 No. 143 Ed i tor: CONTENTS Ar thur Baker 4 Ramsdale Road, page Bramhall, Stockport, EDITORIAL page Cheshire SK7 2QA THE REGIONS Tel: 0161 440 8746 The Fu ture 2 or E-Mail: Fare well 2 Cen tral Re gion 19 [email protected] Sus sex Re gion 22 Ed i to rial dead lines: York shire Re gion 23 NEWS Spring is sue — 31st De cem- ber Hyperion Copy right Case 3 Society Regeneration Au tumn is sue — 30th June Toccata Clas sics 3 Mar ket ing Man ager: Christ mas Cards 3 Ickenham & Ruislip 26 Tony Pook (see page 37). West Wickham RMS 27 Ad ver tise ments are avail able LETTERS from £35.00, de tails from THE SOCIETIES him. Wil liam Hurlestone 4 Cir cu la tion Man ager: AGM Motion 4 Eastbourne 28 Allan Child (see back page Classicalmania 5 Thurso 29 for ad dress). E-mail: Wellington G S 31 [email protected] FEATURES BOOK REVIEWS Copies are distributed to all Busoni and Faust 6 Federation affiliates with Red Rays… 9 Cockaigne 32 additional copies through Reverse Tran scrip tion 11 Bay reuth 33 society secretaries. Estimated Rob ert Simpson 13 readership is well over 10,000. CD REVIEWS Individual Subscriptions are DAVENTRY available at £6.80 for four Busoni — Doktor Faust 34 issues. Direct orders and Mu si cal Week end 16 Sibelius — Sympho nies 35 subscriptions for the Bulletin should be sent to the FRMS CROSSWORD Treasurer (see back page). The cover picture is ‘Chess at Cross word 36 Daventry’ ©Arthur Baker. -
CYFRES I'r DELYN Benjamin Britten
CYNGERDD YR ŴYL. MAWRTH 31, 2021. 8.30pm Nodiadau Rhaglen ELINOR BENNETT (Telyn) Mae'r perfformiad cyhoeddus cyntaf hwn o "Dagrau / Lachrymae" yn deyrnged arbennig i OSIAN ELLIS gan Elinor Bennett, ei gyn-ddisgybl a Chyfarwyddwraig Gŵyl Delynau Cymru. Gellir gwrando ar y recordiad sain a wnaeth Osian Ellis ei hun yn 2019 ar : https://soundcloud.com/popd_ping/lachrymae-oe-20-03-27-b DAGRAU / LACHRYMAE Osian Ellis Gair gan y Cyfansoddwr : " Cyfansoddwyd yr unawd hwn i'r delyn mewn cyfnod annifyr iawn pan oedd Llinos yn yr ysbyty yn cael triniaeth am gancr a phan oedd ei mam, Glynis, yn ei chwmni ddydd a nos am dair wythnos cyn y bu farw ym mis Tachwedd 2018, a hithau ond yn 39 oed. Serch hynny, da yw dweud fod ei merch, Elin (13) yn dal i ganu fel y gôg o amgylch ei chartref, ac wedi ymgodymu â'r brofedigaeth. " Term clasurol am ddagrau yw'r teitl "Lachrymae", ac fe'i defnyddiwyd gan John Dowland yn ystod oes Elisabeth 1af gan wneud defnydd o'i gân "Flow my tears". Defnyddiodd Benjamin Britten, yntau, y ffurf i fiola a phiano, ac fe'i cymhwysais i fiola a thelyn a'i ganu gyda Cecil AronowitZ yn y Philharmonie yn Berlin, ac hefyd gyda Peter Schidloff yng Ngŵyl Aldeburgh. " Rwy'n deisyf ar y delyn i swnio'n ymosodol a chreulon yn y rhan gyntaf gan adlewyrchu gofid a phoen, ond clywir hefyd atgof am blentyndod rhwng yr ebychiadau a'r gwanobeithio, ond wedi'r glissando a chanu cnul y gloch, daw Emyn y Cynhebrwng (Cortege) yn y Modd Dorian, a'r daith i fforest ger Boduan. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-7-2006 Concert: Ithaca College Concert Band and Ithaca College Symphonic Band, "An Anglo-American Alliance" Ithaca College Concert Band Ithaca College Symphonic Band Elizabeth Peterson John Whitwell Dominic Hartjes Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Ithaca College Symphonic Band; Peterson, Elizabeth; Whitwell, John; and Hartjes, Dominic, "Concert: Ithaca College Concert Band and Ithaca College Symphonic Band, "An Anglo-American Alliance"" (2006). All Concert & Recital Programs. 1197. http://digitalcommons.ithaca.edu/music_programs/1197 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE SCHOOL OF MUSIC ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor John Whitwell, Colonel Arnald Gabriel 'SO, HDRMU '89 Visiting Wind Conductor Dominic Hartjes, graduate conductor and ITHACA COLLEGE SYMPHONIC BAND Elizabeth Peterson, conductor John Whitwell, Colonel Amald Gabriel 'SO, HDRMU '89 Visiting Wind Conductor "An Anglo-American Alliance" Ford Hall . Thursday, December 7, 2006 8:IS p.m. ITHACA ITHACA COLLEGE CONCERT BAND Mark Fonder, conductor Overture Saturnalia (1992) Malcolm Binney (b. 1945) Dominic Hartjes, graduate conductor Cotillon (1938) Arthur Benjamin A Suite of Dance Tunes (1893-1960) Trans. by Silvester Introduction and LordHereford's Delight Daphne's Delight Marlborough's Victory Love's Triumph Jigg It E Foot The Charmer Nymph Divine Tattler Argyle First Suite in E-Flat, op. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 Rev
SRCD.225 STEREO ADD BlissCONDUCTSBliss SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 rev. 1937 & 1965) (13’06”) Mêlée Fantasque 2 Rout for Orchestra and Soprano (1920) (7’24”) Rout Adam Zero - Suite (1946) Adam Zero (Excerpts) 3 II Dance of Spring (2’49”) 4 IV Bridal Ceremony (2’17”) Hymn to Apollo 5 V Dance of Summer (3’48”) Serenade 6 Hymn to Apollo (1928 rev. 1965) (10’23”) (conducted by Brian Priestman) Serenade for Orchestra and Baritone (1929)† (25’52”) The World is charged 7 I Overture: The Serenader (8’30”) with the grandeur of God 8 II ‘Fair is my Love’ (4’52”) (conducted by Philip Ledger) 9 III Idyll (7’24”) 10 IV ‘Tune on my Pipe the praises of my Love’ (5’06”) London Symphony Orchestra The World is charged with the grandeur of God (1969)* (13’31”) LSO Wind and Brass Ensemble 11 I ‘The World is charged with the grandeur of God’ (5’22”) Ambrosian Singers 12 II ‘I have desired to go’ (3’18”) Rae Woodland 13 III ‘Look at the Stars’ (4’51”) John Shirley-Quirk (79’13”) Rae Woodland, soprano • John Shirley-Quirk, baritone London Symphony Orchestra LSO Wind and Brass Ensemble • Ambrosian Singers* Sir Arthur Bliss • Brian Priestman† • Philip Ledger* The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1971 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 1992 Lyrita Recorded Edition, England. -
2017-04-02 Messiah
OLDHAM CHORAL SOCIETY PATRON: Jeffrey Lawton CHAIRMAN: Fred Jones Vice-Chair: Margaret Hood Vice-President: Nancy Murphy Hon. Secretary: Ray Smith Hon. Treasurer: John Price Music Director: Nigel P. Wilkinson Accompanist: Angela Lloyd-Mostyn Conductor Emeritus: John Bethell MBE Librarian: Tricia Golden / Janeane Taylor Ticket Sec.: Margaret Hallam Patrons’ Sec.: Sylvia Andrew Uniform Co-ordination: Val Dawson Webmaster: David Baird Concert Manager: Gerard Marsden Promotions Group: David Baird, Edna Gill, Margaret Hood, Fred Jones, Maggs Martin, Sue Morris, June O’Grady, Brenda Roberts, LIFE MEMBERS Eva Dale, Fred Jones, Margaret Hood, Alan Mellor, Nancy Murphy, Peter Quan, Eric Youd A MESSAGE FROM THE CHAIR One of the joys of being in a choir is that from time to time you get to sing your favourite work. That is my pleasure this evening. I have loved the "Messiah" for many years (not saying how many!). To my mind it is a pity that it is usually confined to the busy period of Christmas, so I am particularly pleased to have a Lenten performance. The emotion and drama of the Easter story are something quite special, and deserve to be savoured. Our wonderful soloists and the East Lancs Sinfonia will, I am sure, join with the choir to produce a magical musical experience. We will not be having our usual lighter-themed concert at Middleton Arena this year. Instead we will be holding a Choir "At Home" evening on Friday, 16th June in our regular rehearsal venue - the beautiful Ballroom of Chadderton Town Hall, from 7.30 to 10.30pm. You are invited to join us for a short concert, followed by some time for social and fund-raising activities. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Billy Budd Composer Biography: Benjamin Britten
Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W.